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427. Twice two poets. These are Aratus, Cleanthes, Epimenides, and Menander. The first two are quoted in Acts 17. 28, the third Titus 1. 12, and the fourth I Cor. 15. 33. The verse, "For in him we live, and move, and have our being," is found substantially in the Phænomena (cf. note on 44. 25) of Aratus, who lived in the third century B.C., and in the Hymn to Zeus of Cleanthes, whose lifetime fell somewhat later in the same century. Epimenides of Crete lived much earlier, in the sixth century B.C. It is to him that Paul is said by Chrysostom and others to refer in Titus 1. 12: "One of themselves, a prophet of their own, said, Cretans are always liars, evil beasts, idle gluttons." The quotation, which forms a complete hexameter in the original, is said by the early commentators to have been taken from his poem On Oracles, which has long since perished. The gnomic sentence, "Evil company doth corrupt good manners," I Cor. 15. 33, is from the Thais of the comic dramatist Menander (342-291 B.C.).

42 8. Watchword upon philosophy. Cf. Col. 2. 8: "Take heed lest there shall be any one that maketh spoil of you through his philosophy and vain deceit."

42 10. Not upon poetry. Cf. Scaliger, Poetics 5. a. I: "And if he condemns some of their books, we are not for that reason to be deprived of the rest, such as he himself frequently employs to confirm the authority of his arguments."

42 13. Would not have, etc. Cf. Plato, Republic 3. 391 (Jowett 3. 265): "We will not have them teaching our youth that the gods are the authors of evil and that heroes are no better than men; undoubtedly these sentimen., as we were saying, are neither pious nor true, for they are at variance with our demonstration that evil cannot come from God. . . . And further they are likely to have a bad effect on those who hear them. . . . And therefore let us put an end to such tales, lest they engender laxity of morals among the young."

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42 20. Imitation. Cf. 9 12.

42 27. Atheism. The first example of the word.

42 29. Meant not in general. Cf. Jowett, Plato 3. 146: "Plato does not seriously intend to expel poetry from human life. But he feels strongly the unreality of poets; and he is protesting against the degeneracy of them in his own day as we might protest against the want of serious purpose in modern poetry, against the unseemliness or extravagance of some of our novelists, against the time-serving of preachers or public writers, against the regardlessness of truth, which to the eye of the philosopher seems to characterize the greater part of the world. ... For there might be a poetry which would be the hymn of divine

perfection, the harmony of justice and truth among men: a strain which should renew the youth of the world, as in primitive ages the poet was men's only teacher and best friend: which would find materials in the living present as well as in the romance of the past, and might subdue to the fairest forms of speech and verse the intractable materials of modern civilization: which might elicit the simple principles, or, as Plato would have called them, the essential forms of truth and goodness out of the variety of opinion and the complexity of modern society: which would preserve all the good of each generation and leave the bad unsung: which should be based not on vain longings or faint imaginings, but on a clear insight into the nature of man. Then the tale of love might begin again in poetry or prose, two in one, united in the pursuit of knowledge, or the service of God and man; and feelings of love might still be the incentive to great thoughts and heroic deeds as in the days of Dante or Petrarch; and many types of manly and womanly beauty might appear among us, rising above the ordinary level of humanity, and many lives which were like poems be not only written but lived among us."

42 31. Qua authoritate, etc. Scaliger, Poetics 5. a. I: "Which authority (i.e. that of Plato) certain rude and barbarous persons desire to abuse, in order to banish poets out of the commonwealth.”

43 13. Inspiring. Cf. Plato, Ion 534 (Jowett 1. 248): "For the poet is a light and winged and holy thing, and there is no invention in him until he has been inspired and out of his senses, and the mind is no longer in him: when he has not attained to this state, he is powerless and is unable to utter his oracles. . . . And therefore God takes away the minds of poets, and uses them as his ministers, as he also uses diviners and holy prophets, in order that we who hear them may know that they speak not of themselves who utter these priceless words in a state of unconsciousness, but that God is the speaker, and that through them he is conversing with us." See also 57 23, and cf. Spenser, Shepherd's Calendar, October, Argument: "In Cuddie is set out the perfect pattern of a poet, which, finding no maintenance of his state and studies, complaineth of the contempt of poetry, and the causes thereof; specially having been in all ages, and even amongst the most barbarous, always of singular account and honor, and being, indeed, so worthy and commendable an art; or rather no art, but a Divine gift and heavenly instinct not to be gotten by labor and learning, but adorned with both, and poured into the wit by a certain evovoiaouds and celestial inspiration, as the author hereof elsewhere at large discourseth in his book called 'The English Poet,' which book being lately come to

my hands, I mind also, by God's grace, upon further advisement, to publish."

43 18. Sea of examples. Cf. Shak. Hml. 3. 1. 59: “Sea of troubles." Alexanders. Cf. 404 ff., and Harington (Haslewood, 2. 122): "For who would once dare to oppose himself against so many Alexanders, Cæsars, Scipios, that... have encouraged and advanced poets and poetry?"

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43 19. Scipios. Cf. 40 25 ff.

43 20. Roman Socrates. Cf. Cicero, On Duties I. 26. 90: "That equanimity in every condition of life is a noble attribute, and that uniform expression of countenance and appearance which we find recorded of Socrates, and also of Caius Lælius."

43 22. Made by him. Cf. Cicero, To Atticus 7. 3. 10: "The comedies of Terence are thought, on account of their elegance of diction, to have been written by C. Lælius." Terence himself, in the prologue to the Heautontimoroumenos, says: "Then, as to a malevolent old poet saying that he (i.e. Terence) has suddenly applied himself to dramatic pursuits, relying on the genius of his friends, and not his own natural abilities; on that your judgment, your opinion, will prevail." The reference to Lælius is thought to be still more explicit in the prologue to the Adelphi.

43 23. Only wise man. Cf. Plato, Apology 21 (Jowett 1. 353): "He (i.e. Chærephon) went to Delphi and boldly asked the oracle to tell him whether . . . there was any one wiser than I was, and the Pythian prophetess answered, that there was no man wiser."

43 24. Æsop's Fables. Cf. Plato, Phædo 60-61 (Jowett 1. 432-3), where Socrates says: "In the course of my life I have often had intimations in dreams 'that I should compose music.' The same dream came to me sometimes in one form, and sometimes in another, but always saying the same or nearly the same words: Compose and practise music, said the dream. And hitherto I had imagined that this was only intended to exhort and encourage me in the study of philosophy, which has always been the pursuit of my life, and is the noblest and best of music. The dream was bidding me do what I was already doing, in the same way that the competitor in a race is bidden by the spectators to run when he is already running. But I was not certain of this, as the dream might have meant music in the popular sense of the word, and being under sentence of death, and the festival giving me a respite, I thought that I should be safer if I satisfied the scruple, and, in obedience to the dream, composed a few verses before I departed. And first I made a hymn in honor of the god of the festival,

and then considering that a poet, if he is really to be a poet, should not only put together words, but should invent stories, and that I have no invention, I took some fables of Æsop, which I had ready at hand and knew, and turned them into verse."

43 29. Teacheth the use.

2. 42-94).

43 32. Guards of poesy.

In his On Listening to Poetry (Morals

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Guard ornamental border, ornament. Cf. Shak. Ado 1. 1. 288-9: "The body of your discourse is sometime guarded with fragments, and the guards are but slightly basted on." Plutarch is very fond of poetical quotation.

44 4. Low-creeping. Perhaps with reference to Horace's "serpit humi," Art of Poetry 28. Cf. earth-creeping, 585, and note on 55 25. 44 5. Not being an art of lies. Cf. 35 21-37 7.

44 6. Not of effeminateness. Cf. 38 29–40 32. 44 7. Not of abusing. Cf. 37 8-38 28.

44 8. Not banished.

449. Engarland.

Stella.

44 22. Musa, etc.

Cf. 42 9-43 15.

Used by Sidney in Sonnet 56 of Astrophel and

Virgil, Æneid 1. 12: “O Muse, relate to me the causes, tell me in what had her will been offended?"

44 25. David. Cf. 65, 919. Adrian. Roman emperor (76-138 A.D.). See Capes, Age of the Antonines, p. 54: "Poet, geometer, musician, orator, and artist, he had studied all the graces and accomplishments of liberal culture, knew something of the history and genius of every people, could estimate their literary or artistic skill, and admire the achievements of the past." And again, pp. 69–70: “Even on his deathbed he could feel the poet's love for tuneful phrase, and the verses are still left to us which were addressed by him to his soul, which, pale and cold and naked, would soon have to make its way to regions all unknown, with none of its whilom gaiety:

Animula, vagula, blandula,
Hospes comesque corporis,
Quæ nunc abibis in loca.
Pallidula, rigida, nudula,
Nec ut soles dabis jocos."

These lines have been translated by Byron, and loosely paraphrased by Pope, with the admixture of Christian sentiment.

Sophocles. The Greek tragic poet (496–406 B.C.). Probably placed here because of the commands with which his fellow-citizens entrusted him. Cf. Mahaffy, Hist. Grk. Lit. 1. 280-1: "The Athenian public

were so delighted with his Antigone that they appointed him one of the ten generals, along with Pericles, for the subduing of Samos He was (in 443 B.C.) one of the Hellenotamia, or administrators of the public treasury -a most responsible and important post. He sided with the oligarchy in 411, if he be the Probulus (i.e. member of the council) then mentioned."

Germanicus. The nephew and adopted son of the emperor Tiberius, and commander of an expedition against the Germans (15 B.C.–19 A.D.). Besides more original poems, he composed a translation of the Phanomena, a didactic poem by the Greek poet Aratus. Cruttwell, Hist. Rom. Lit. p. 349, calls it "elegant and faithful, and superior to Cicero's in poetical inspiration."

44 27. Robert, King of Sicily. Robert II. of Anjou (1275-1343 A.D.). Of him we are told by Paulus Jovius, Elogia (Basle, 1575): "He bore with marvellous fortitude the death of his only son, consoling himself with . . . the best literature, in which he became so proficient that he was wont to say that he preferred it to the possession of his kingdom. He was a munificent patron to the professors of the highest learning, and took so much pleasure in light and graceful poetry that he was desirous, in addition to the many other marks of his favor which he had previously bestowed upon Francis Petrarch, tɔ confer upon him with his own hands the honor of the laureateship, the same which Petrarch preferred afterwards to receive at the Capitol in Rome." Cf. Symonds, Renaissance in Italy 2. 252: "Robert of Anjou was proud to call himself the friend of Petrarch, and Boccaccio found the flame of inspiration at his court."

44 28. Francis of France. The critic Sainte Beuve says of him: "Fascinated by every species of noble culture of the arts and the intellect; admiring and appreciating Erasmus as well as Lionardo da Vinci and Primaticcio, and bent, as he himself was accustomed to avow, upon adorning with them his nation and his kingdom; a fosterer of the vernacular, by employing it in documents of state; and the founder of free higher education outside of the Sorbonne; he justifies, in spite of many errors and vagaries, the title awarded him by the gratitude of his contemporaries. The service he rendered consists less in this or that particular institution of his creation than in the spirit with which he was animated and which communicated itself to every one about him."

King James of Scotland. Probably James I. (1394-1437), author of The King's Quair, the poetical disciple of Lydgate, Gower, and especially of Chaucer. Cf. Warton, Hist. Eng. Poetry 3. 121: "This

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